Unformatted text preview: Rh yt hm & Bl ues Industrial and social conditions Tributary streams Mainstream responses Sh’Boom – The Chords Sh’Boom – The Crew-Cuts Sh’ Boom – Stan Freberg Ma rket conditio ns 1930s: rising importance of (talking) film, network radio, jukeboxes 1940s: Recording bans of 1941-43, 1948 BMI Advent of television’s effect on radio Re-naming of “race” records to “rhythm & blues” on Billboard chart, 1949. Tec hno logi cal the late 1940s 1950s changes in – e arly Improved microphone fidelity Magnetic tape as cheap, good recording medium Shift to vinylite plastic Advent of microgroove (and soon, stereo) records Re cord ing ban o f 19411943 “Talkies” and radio ASCAP and Radio AFofM ban and the Major labels Rise of the indies, BMI Tr ibutaries Urban blues Call It Stormy Monday – T-Bone Walker, 1947 Mannish Boy – Muddy Waters, 1955 Jump Bl ues & boogie wo ogie Cole Slaw – Jesse Stone, 1949 Choo Choo Ch’ Boogie, Louis Jordan, 1947
Roll ‘em, Pete – Pete Johnson & Biog Joe Turner, 1938 Do o-wo p Precursors – Barbershop quartets Gospel quartets Swing-era vocal groups
The Ink Spots – If I Didn’t Care, 1939 Bla ck doo-wop g roups The Five Satins – In the Still of the Night, 1956 The Flamingos – I Only Have Eyes For You, 1959 White (Italia nAm eric an) doo-wo p groups There’s a Moon Out Tonight, 1961 I Wonder Why – Dion & the Belmonts, 1958 Co ve rs The Wallflower (Dance with Me, Henry 1955 Work with Me, Annie – Hank Ballard & the Midnighters, 1954 The Wallflower (Roll with Me, Henry – Etta James, 1955 ...
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This note was uploaded on 09/12/2008 for the course AM ST 105 taught by Professor Stevenpond during the Spring '08 term at Cornell.
- Spring '08